Boston Symphony Orchestra Concert Programs, Season 58,1938

SYMPHONY HALL, BOSTON

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Telephone, Commonwealth 1492

FIFTY-EIGHTH SEASON, 1938-1939

CONCERT BULLETIN of the

Boston Symphony Orchestra

SERGE KOUSSEVITZKY, Conductor

Richard Burgin, Assistant Conductor

with historical and descriptive notes by

John N. Burk

The OFFICERS and TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc.

Ernest B. Dane President Henry B. Sawyer Vice-President Ernest B. Dane Treasurer

Henry B. Cabot M. A. De Wolfe Howe Ernest B. Dane Roger I. Lee Alvan T. Fuller Richard C. Paine Jerome D. Greene Henry B. Sawyer N. Penrose Hallowell Edward A. Taft Bentley W. Warren

G. E. Judd, Manager C. W. Spalding, Assistant Manager

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[818] SYMPHONIANA New York Philharmonic Programme The Programmes of Ernest Block New England Photographs

NEW YORK PHILHARMONIC PROGRAMME The Philharmonic-Symphony Society of New York will visit Boston to give a concert in Symphony Hall on Mon- A Graceful Prelude 13. John Barbirolli, day evening, March to the Evening Hours is the Orchestra's permanent conductor, Cocktail Time at will then make his first appearance in this city. Artur Schnabel will appear The Copley-Plaza as soloist in Beethoven's "Emperor" Concerto, No. 5. Mr. Barbirolli will A few steps from the present Berlioz' Overture, "The Roman Carnival"; Mendelssohn's Scherzo in MeAAy-Qa- Hound G minor, from the String Octet; and the Second Symphony of Brahms, in is Copley-Plaza's beautiful, D major. spacious Restaurant — the THE PROGRAMMES OF focal center of social Boston ERNEST BLOCH

The programme is announced for the To climax a perfect day coming visit as guest composer and Supper Dancing in conductor of Ernest Bloch, at the Sym- phony concerts of Friday afternoon and the gorgeous Saturday evening, in Symphony Hall, March 17 and 18, and the following SU&urfan (loom Monday evening and Tuesday afternoon, March 20 and 21. Mr. Bloch will from 9 until 1 a. m. also conduct the concert in Sanders Theatre, Cambridge, on Thursday eve- You will thoroughly enjoy ning, March 16. He will introduce to Boston two in- the entrancing music of Nye terludes from his early opera "Mac- Mayhew and His Orchestra beth." His Three Jewish Poems are of Sophisticated Melodies familiar by several performances at the Boston Symphony concerts in past years. The closing number will be "America," an epic rhapsody which was performed THE at these concerts in 1928, and in 1929.

The Rhapsody is in three parts, the Gofitedf-Plaqa first "1620 — bearing the inscription: BOSTON The Soil — The Indians — The May- flower — The Landing of the Pilgrims." Arthur L. Race, Managing Director The second movement: "1861-1865. Hours of Joy — Hours of Sorrow."

[8l 9 :

Popular tunes closely connected with the history of America furnish the

thematic material. The third part is entitled: "The Present — The Future." In the year 1917, Ernest Bloch was invited by the Boston Symphony Or- chestra to conduct his "Three Jewish Poems" which he had recently composed. In the score of years which have since passed, Bloch has become an outstanding and highly regarded creative figure in the world of music. The following of his works have been performed at the concerts of this orchestra: Concerto Grosso for String Or- chestra and Piano; Suite for Viola and Orchestra; Three Jewish Poems; "America"; "Winter — Spring," poems for orchestra; "Schelomo," for Violon- cello and Orchestra; Four Episodes, for chamber orchestra; two Psalms for soprano and orchestra. NEW ENGLAND PHOTOGRAPHS Representative photographs from camera clubs in several of the New England States are now on view in the Exhibition Foyer. Twelve clubs, in Connecticut, New Hampshire, and Massachusetts, have contributed ex- amples of their best work. The prints exhibited were chosen by officers of the Boston camera clubs and Symphony You can have all the loveliness Hall from among the many submitted. of the new fall colors — Teal Blue, This exhibition has been made pos- Fuchsia, Plum or Violet. Lewandos sible by the interest and activity of careful dyeing gives you these colors for your Dresses, Suits or Mr. Hermann Lythgoe of the Boston Topcoats from $3.50. City Club Camera Associates, and the Or choose from these six stylish co-operation of the following Camera shades — Black, Navy, Ritz Blue, Clubs Poppy Red, Dark Brown, Dark Amherst Camera Club, Boston Ca- Green, from $2.75. mera Club, Boston City Club Camera Associates, Boston Y. M. C. U. Camera Club, Bridgeport Camera Club, Clare- Lewandos mont Camera Club, Daguerre Camera Club of Hartford, Greater Lynn Camera Cleansers -:- Launderers Club, Hartford County Camera Club, Dyers -:- Fur Storage South Shore Camera Club, Thirty-five Millimeter Camera Club of Boston, For Service-At-Your-Door, Telephone MIDdlesex 8500 and the Worcester Photo Clan. A complete list of exhibitors and their entries follows:

[820] .

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[822] FIFTY-EIGHTH SEASON, NINETEEN HUNDRED THIRTY-EIGHT AND THIRTY-NINE

Eighteenth Programme

FRIDAY AFTERNOON, March 3, at 2:30 o'clock

SATURDAY EVENING, March 4, at 8:15 o'clock

Schumann Symphony No. 4 in D minor, Op. 120

I. Andante; Allegro II. Romanza III. j Scherzo IV. { Largo; Finale (Played without pause)

Carpenter Concerto for Violin and Orchestra

(First performances in Boston)

INTERMISSION

Strauss "Also Sprach Zarathustra," Tone Poem, Op. 30 (Freely after Friedrich Nietzsche)

SOLOIST ZLATKO BALOKOVIC

steinway piano

This programme will end about 4:15 on Friday Afternoon, 10:00 o'clock on Saturday Evening

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[824] SYMPHONY IN D MINOR, No. 4, Op. 120 By Robert Schumann

Born at Zwickau, June 8, 1810; died at Endenich, July 29, 1856

Composed in 1841, at Leipzig, this symphony was first performed at a Gewand- haus concert on December 6 of the same year. Schumann made a new orchestration in December, 1851, at Dusseldorf, and the revision was performed there on March

3, 1853, at the Spring Festival of the lower Rhine. It was published in December, 1853, as his Fourth Symphony. The orchestration includes two flutes, two oboes, two clarinets, two bassoons, two trumpets, three trombones, timpani and strings. The most recent performance at the Boston Symphony concerts was on January

29. i93 8 -

Schumann wrote this symphony a few months after the completion of his First Symphony in B-flat. The D minor Symphony was numbered four only because he revised it ten years later and did not publish it until 1853, after his three others had been written and published (the Second in 1846, the Third in 1850). This symphony, then, was the second in order of composition. It belongs to a year notable in Schumann's development. He and Clara were married in the autumn of 1840, and this event seems to have stirred in him a new FOR PIANO NET- MRS. H. H. A. BEACH, Op. 60. Variations on Balkan Themes (Revised Edition) 1 1.50 D. SEQUEIRA, Fiesta Sevillana. Spanish Suite 1.00 (Schmidt's Educational Series No. iyy) TRYGVE TORJUSSEN, Op. 56. Impromptu-Etudes. 2 books, each 75 (Schmidt's Educational Series No. ji6a-b)

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THE ARTHUR P. SCHMIDT CO., 120 Boylston St. and significant creative impulse: 1840 became a year of songs in sudden and rich profusion, while in 1841 he sensed for the first time in full degree the mastery of symphonic forms. He had written two years before to Heinrich Dorn, once his teacher in composition: "I often feel tempted to crush my piano — it is too narrow for my thoughts.

I really have very little practice in orchestral music now; still I hope to master it." The products of 1841 show that he worked as well as dreamed toward that end. As Mr. W. J. Henderson has well described this moment of his life: "The tumult of young love lifted him from the piano to the voice. The consummation of his manhood, in the union with a woman of noble heart and commanding intellect, led him to the orchestra. In 1841 he rushed into the symphonic field, and * composed no less than three of his orchestral works." These works were the First, the "Spring" Symphony, which he began in January 1841, four months after his marriage, and completed in a few weeks; the "Overture, Scherzo and Finale" of April and May, and the D minor Symphony, which occupied the summer months. There might also be mentioned the "phantasie" in A minor, composed in the same summer, which was later to become the first movement of the piano concerto. But the two symphonies, of course, were the trium-

* "Preludes and Studies."—W. J. Henderson.

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*^e/t/tf£}^tfUftf,/?Of/o/L ' §» [826] THE YEAR 1939 AND YOUR ESTATE

The beginning of a new year is a logical time for reviewing arrangements already made for the conservation and distribution of property, or for making such arrangements if none already exist. At this time a review is more than usually appropriate because of changing conditions.

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[827] phant scores of the year. The D minor Symphony, no less than its

mate, is music of tender jubilation, intimately bound with the first full spring of Schumann's life — like the other a nuptial symphony, instinct with the fresh realization of symphonic power.

The manuscript of the symphony bears the date June 7, 1841, and

at the end — "finished at Leipzig, September 9, 1841." Clara observed

still earlier creative stirrings, for she recorded in her diary under the date of May 31: "Robert began yesterday another symphony, which

will be in one movement, and yet contain an adagio and a finale. I

have heard nothing about it, yet I see Robert's bustle, and I hear the D minor sounding wildly from a distance, so that I know in advance that another work will be fashioned in the depths of his soul. Heaven

is kindly disposed toward us: Robert cannot be happier in the composition than I am when he shows me such a work." On September

13, which was Clara's birthday, and when also their first child, Marie, then twelve days old, was baptized, Robert presented the young mother with the completed score of the symphony. And the composer wrote modestly in the diary: "One thing makes me happy — the consciousness of being still far from my goal and obliged to keep doing better, and then the feeling that I have the strength to reach it."

The first performance was at a Gewandhaus concert on December 6,

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[829 ] Ferdinand David conducting. It was a friendly event, Clara Schumann playing piano solos by their colleagues Mendelssohn, Chopin, Stern- dale Bennett. She appeared jointly with Liszt, in his "Hexameron" for two pianos. Schumann's new "Overture, Scherzo, and Finale" was also played. Unfortunately, the success of the B-flat major Symphony in the previous March was by no means repeated in the new D minor Symphony. The criticisms were not favorable. Clara Schumann, who always defended her husband, wrote that ''Robert's Symphony was not especially well performed," and the composer himself added: "It was probably too much of me at a single sitting; and we missed Men- delssohn's conducting too; but it doesn't matter, for I know the things are good, and will make their way in their own good time." But Schumann laid the work aside. It does not seem that he could have considered a revision for some time, for he offered the manuscript to a publisher in 1843 or 1 ^44 as ms "Second Symphony, Op. 50." According to the testimony of Brahms, many years later, Schu-

mann's dissatisfaction with the symphony preceded its first perform-

ance. "Schumann was so upset by a first rehearsal that went off badly," wrote Brahms to Herzogenberg, October 1886, "that subsequently he orchestrated the symphony afresh at Dusseldorf." This revision was made in December, 1851. The fresh score was performed at Dusseldorf

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[83 1] on March 3, 1853, at the Spring Festival of the lower Rhine. This time the work had a decided success, despite the quality of the orchestra which, according to Brahms, was "bad and incomplete," and notwith- standing the fact that Schumann conducted, for, by the testimony of his contemporaries, he was conspicuously ineffectual at the head of an orchestra. When in the following autumn the committee urged that Schumann conduct only his own works in the future, Clara wrote bitterly about the incident.

From the following letter (to Verhulst) it appears that Schumann made the revision because of urgent friends: "When we last heard that Symphony at Leipzig, I never thought it would reappear on such an occasion as this. I was against its being included, but was persuaded by some of the committee who had heard it. I have scored it afresh, and it is now more effective." Schumann dedicated the symphony to Joseph Joachim, who was then twenty-two years old. He wrote on the manuscript: "When the first tones of this symphony were awakened, Joseph Joachim was still a little fellow; since then the symphony and

still more the boy have grown bigger, wherefore I dedicate it to him, although only in private." The score was published in December, 1853.

The Symphony is integrated by the elimination of pauses between

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[833] the movements, and by thematic recurrence, the theme of the introduction reappearing at the beginning of the slow movement, a phrase from the slow movement in the Trio of the Scherzo. The principal theme of the first movement is used in the Finale, and a subsidiary theme in the first movement becomes the leading theme in the Finale. This was a true innovation, foreshadowing the cyclic symphonies of many years later. "He desires," in the opinion of Mr. Henderson, "that the hearer's feelings shall pass, as his own did, from one state to the next without interruption. In a word, this is the first symphonic poem, a form which is based upon the irrefutable assertion that 'there is no break between two successive emotional states.' " Its "community of theme is nothing more or less than an approach to the hit motive system." The Symphony is the most notable example of the symphonic Schumann abandoning customary formal procedure to let his romantic imagination take hold and shape his matter to what end it will. It should be borne in mind that the Symphony was first thought of by its composer as a symphonic fantasia, that it was published by him as "Introduction, Allegro, Romanze, Scherzo and Finale, in One Move- ment." It was in this, the published version, that he eliminated pauses between the movements, although this does not appear in the earlier version save in the joining of the scherzo and finale. The work, save in the slow movement, has no "recapitulations" in the traditional sense, no cut and dried summations. Warming to his theme, Schumann expands to new thematic material and feels no necessity for return. The score is unmistakably of one mood. It is integrated by the threads of like

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[834] THE FRIENDS of the ORCHESTRA

An the ratio it maintains between operating revenues and expenses the Boston Symphony Orchestra stands highest among the major Orchestras in this country. As much as 85% of our annual budget of $650,000 will come back to us this year in operating revenues, leaving a balance of only 15% to be supplied by the gifts of those who enroll as Friends of the Orchestra.

Two-thirds of this balance is already covered by the enrollments of those who year after year have stood loyally behind the Orchestra. Support is now sought from those who have not yet become Members of our Society. All who attend our concerts and care to take a more active part in furthering the Orchestra's success are eligible to Member- ship. A gift to the Orchestra in any amount whatever is all that is necessary to consti- tute an enrollment for the Season. Checks may be made payable to Boston Symphony

Orchestra and forwarded to its Treasurer at 6 Beacon Street, Boston. Edward A. Taft Chairman, Friends of the Boston Symphony Orchestra.

[835 ] thoughts. Thematic recurrence becomes inevitable, because this unity of thought makes it natural. The first movement is finely oblivious of academic requirements. The whole movement hangs upon the reiteration of the principal theme, a restless, running figure in sixteenth notes which appears and reappears constantly in every part of the orchestra, entwined with others. There is no contrasting second theme, but only a slight devia- tion from this one. Two episodic themes — the one consisting of brief rhythmic chords, the other of a flowing melody — carry the movement

to its end in a triumphant D major. The Romanze is, in song form. The melody from the introduction to the first movement is introduced in the first part, while in the middle section the violin solo weaves a delicate embroidery. The Trio of the Scherzo is based upon the orna- mental solo passage from the slow movement. After the repetition of the main section, the Trio again begins, recalling the precedent of Beethoven where the Scherzo theme would be expected to break in and bring a conclusion. Instead, the Trio dies away in a long diminu- endo, and leads into the introduction to the Finale (a true bridge passage, which has been compared to the famous pages which connect the last two movements of Beethoven's Fifth Symphony). This introduction brings back the motto-like principal theme of the first movement, which still appears as an accompaniment to the initial theme of the Finale — broadly proclaimed. The second subject recalls the Larghetto from Beethoven's Second Symphony. The development and conclusion are characteristically free.

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[837] CONCERTO FOR VIOLIN AND ORCHESTRA By John Alden Carpenter

Born February 28, 1876 at Park Ridge, 111.

The Concerto was composed between March and September, 1936, partly at Eze Village, France, and partly at Beverly, Mass. The first public performance was given by the Chicago Symphony Orchestra, November 18, 1937. There have also been performances by the Los Angeles Philharmonic Orchestra, January 20, 1938, and by the Cleveland Orchestra, February 24, 1938. Mr. Balokovic wr as the soloist at each of these performances.

The Concerto is scored for two flutes and piccolo, two oboes and English horn, two clarinets, two bassoons, four horns, three trumpets, three trombones and tuba, timpani, bass drum, cymbals, snare drum, oriental drum, wood block, gong, glockenspiel, bells, vibraphone, celesta, harp, piano and strings. The composer has dedicated the score to his wife. The following analysis of the Violin Concerto was made by Felix Borowski for the programmes of the Chicago Orchestra:

"The work, which is played without pause between its sections, opens in the orchestra, allegro robustamente, 3-4, 5-4 time, a lento superseding the allegro at the sixth measure — that tempo giving way one measure later to giocoso. The solo violin enters at the fifth meas-

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[838] ure of the latter with a theme derived from the orchestral motive that had opened the work. The accompaniment given to this entry of the solo instrument is given to the harps and the strings, pizzicato. Soon the violin makes its way into a continuing section, grazioso, the accompanying strings still playing pizzicato and with the piano filling in the harmony. While this idea is being developed the strings, now arco, work over the opening subject material. Considerable employ- ment is given to a markedly accentuated figure, heard not only in the solo instrument, but in the orchestra as well. The violin gives out a subject, ben ritmato, derived from the motive (in the brass) at the beginning of the movement. The orchestra plays for eight measures a vigorous tutti, feroce, based upon the motive just referred to. The solo violin then plays, also feroce, a theme on the G string accompanied by the pizzicato strings and piano, over an organ point on D. This, and former material, are developed. The opening section of the concerto now leads — with only a short pause — into a second division, lento, an English horn and oboe leading to a broad theme played dolente by the first violins. The solo violin now gives out an expres- sive subject, later taken up by the first horn with the violin playing a triplet figuration around it. A cadenza-like passage for violin alone leads to a new section, moderato, of scherzo character, the solo instrument playing an accented triplet figure. The tempo again changes to lento, but an accelerando leads back through a short allegro to moderato, in which the violin returns to material that had been stated at the beginning of the concerto, but now worked over in varied form. mm

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[84 1] The work ends, lento, very quietly with the solo instrument lightly poised on a high E and with bells playing a final reference to the theme that had opened the concerto."

John Alden Carpenter is often instanced in proof that "a successful business man" can be an artist of high standing and fine discernment.

His first teacher was his mother, an amateur singer. He attended Har- vard College when John Knowles Paine was at the head of the Music Department there. He went to England to study with Sir Edward Elgar and completed his preparation with Bernhard Zeihn in Chicago.

Mr. Carpenter first became known generally by virtue of his orchestral suite "Adventures in a Perambulator" (1914), which went the rounds of orchestras in America and in Europe. His Concertino for piano and orchestra is of 1916. In the same year he composed his symphony. In 1919 his ballet, "The Birthday of the Infanta," was first performed by the Chicago Civic Opera Company. There has re- sulted from Mr. Carpenter's interest in jazz rhythm the ballet "Krazy- Kat" (1921) and "Skyscrapers, a Ballet of American Life," first pro- duced at the Metropolitan Opera House in 1926. His "Song of Faith" for chorus and orchestra was written for the George Washington bicentennial commission, for performance in celebration of the 200th Unnce INCORPORATED FABRICS CARPETS FURNITURE Interior Designers WALLPAPERS BEDDING

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[ 84 .n 1 anniversary of the birth of Washington, in 1932. "Patterns," for orchestra and piano, is of the same year. The following of Carpenter's works have been performed by this orchestra: Symphony No. 1 (April 19, 1918); Concertino (February

13, 1920 — soloist, E. Robert Schmitz); "Adventures in a Perambula- tor" (December 24, 1915, also 1916, 1924 and 1927); Suite from the "Birthday of the Infanta" (February 25, 1921); Suite from "Sky-

scrapers" (December 9, 1927, also 1928 and 1932); the "Song of Faith" (at a Tuesday afternoon concert, February 23, 1932); "Patterns" (Oc- tober 21, 1932). This was the first performance, the composer appear-

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[844] ZLATKO BALOKOVIC

Zlatko Balokovic was born in Zagreb, capital of Croatia (now Yugoslavia), March 21, 1895. He- attended the Conservatory there, graduating with honors at the age of sixteen. Thence he went to the Meisterschule of Sevcik, in Vienna, completing his preparation with two years of study with that master. Mr. Balokovic has since made repeated and extensive tours of Europe. He made his first American appearances in the season of 1925-26.

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We invite you to hear this remarkable instrument M. Steinert & Sons 162 BOYLSTON STREET Hancock 1900 L T h Home of t h Stein way [845] TONE POEM, "THUS SPAKE ZARATHUSTRA" (freely after Friedrich Nietzsche), Op. 30 By Richard Strauss Born at Munich, June 11, 1864

"Also sprach Zarathustra, Tondichtung (frei nach Friedrich Nietzsche) fiir grosses Orchester," was composed at Munich from February through August, in the year 1896. The first performance was at Frankfurt-am-Main, November 27 of that year. The composer conducted this and a performance at Cologne, on December 1. The tone poem was introduced in Berlin by Arthur Nikisch, November 30. The first American performances were given in Chicago, February 5, 1897 under the direction of Theodore Thomas. The first Boston performance was October 30, 1897, when Emil Paur was conductor of this Orchestra. The most recent performance at these concerts was March 5, 1937. "Also sprach Zarathustra" is scored for three flutes and two piccolos, three oboes and English horn, two clarinets in B-frat, clarinet in E-flat and bass clarinet, three bassoons and contra-bassoon, six horns, four trumpets, three trombones and two tubas, timpani, bass drum, cymbals, triangle, glockenspiel, a low bell in E, two harps, organ and strings. Friedrich Nietzsche's "Also Sprach Zarathustra/' which moved Richard Strauss to the creation of his large-scaled tone poem in

1896, is surely no less a poem in prose than a philosophical treatise.

Nietzsche's sister referred to it as "dithyrambic and psalmodic" — cer- tainly with more understanding than those early opponents of programme music who reproached Strauss with having set philosophy to

music. Strauss' statement on the occasion of the first performance of

the work at Frankfort-on-the-Main might still have been considered

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[84 6] a large order: "I did not intend to write philosophical music or portray Nietzsche's great work musically. I meant to convey by means of music an idea of the development of the human race from its origin, through the various phases of development, religious as well as scientific, up to Nietzsche's idea of the Superman." Nietzsche found a name for the dominating figure of his poem in

Zoroaster, the Persian seer who is supposed to have lived about 1000 B.C. Beyond this, the two seem to have few points in common. The German philosopher wrote of the real Zoroaster: "He created the most portentous error, morality. Consequently, he should also be

the first to perceive that error . . . the overcoming of morality through itself — through truthfulness, the overcoming of the moralist through his opposite — through me: that is what the name Zarathustra means in my mouth."

This paragraph from Zarathustra's introductory speech is printed opposite the title page on Strauss' score: "Having attained the age of thirty, Zarathustra left his home and the lake of his home and went into the mountains. There he rejoiced in his spirit and his loneliness, and for ten years did not grow weary of it. But at last his heart turned — one morning he got up with the dawn, stepped into the presence of the Sun and thus spake unto him: 'Thou great star! What would be thy happiness, were it not for those whom thou shinest? For ten years thou has come up here to my cave.

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Thou wouldst have got sick of thy light and thy journey but for me, mine eagle and my serpent. But we waited for thee every morning and receiving from thee thine abundance, blessed thee for it. Lo! I am weary of my wisdom, like the bee that hath collected too much honey; I need hands reaching out for it. I would fain grant and distribute until the wise among men could once more enjoy their folly, and the poor once more their riches. For that end I must descend to the depth; as thou dost at even, when sinking behind the sea, thou givest light to the lower regions, thou resplendent star! I must, like thee, go down, as men say — men to whom I would descend. Then bless me, thou impassive eye, that canst look without envy even upon over-much happiness. Bless the cup which is about to overflow, so that the water golden-flowing out of it may carry everywhere the reflection of thy rapture. Lo! this cup is about to empty itself again, and Zarathustra will once more become a man.' — Thus Zarathustra's going down began."

Instead of a detailed musical analysis, Philip Hale allowed quota- tions from Nietzsche (in Dr. Tille's translation) to describe the suc- cession of episodes in the score:

There is a simple but impressive introduction, in which there is a solemn trumpet motive, which leads to a great climax for full orchestra and organ on the chord of C major. There is this heading, "Von den Hinterweltlern" (Of the Dwellers in the Rear World). These

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[848] ljli Boulanger Memorial Fund Concert NADIA BOULANGER, Conductor

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Nadia Boulanger, Conductor Lin Boulanger 1893-191! THE HARVARD GLEE CLUB THE RADCLIFFE CHORAL SOCIETY G. WALLAGE WOODWORTH, Conductor AND MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA

Monday Eve., March 6, 1939, 8:30 P. M. Symphony Hall, Boston

E. Power Biggs, Organist Hugues Cuenod, Tenor Noemie Perugia, Soprano Doda Conrad, Bass Nathalie Kedroff, Contralto 'Program

Kyrie from the Mass in B minor Johann Sebastian Bach Elegischer Gesang Ludzvig van Beethoven Finale "Canticle of the Sun" from San Francesco d'Assisi * G. Francesco Malipiero

Pour les Funerailles d'un Soldat Lili Boulanger Pie Jesu Lili Boulanger Psaume: Du Fond de l'Abime Lili Boulanger Psaume XXIV Lili Boulanger * First performance in America.

The proceeds of this Memorial Concert will be used to establish a Fund to aid composers needing financial assistance. Tickets from $1.50 to I3.50 now on sale at the Symphony Hall box office. Sponsored by the Longy School of Music.

[849] are they who sought the solution in religion. Zarathustra, too, had once dwelt in this rear-world. (Horns intone a solemn Gregorian "Credo.")

"Then the world seemed to me the work of a suffering and tortured God. A dream then the world appeared to me, and a God's fiction; colored smoke before

the eyes of a godlike discontented one. . . . Alas! brethren, that God whom I created was man's work and man's madness, like all Gods. Man he was, and but a poor piece of man and the I. From mine own ashes and flame it came unto me, that ghost, aye verily! It did not come unto me from beyond! What happened brethren? I overcame myself, the sufferer, and carrying mine own ashes unto the mountains invented for myself a brighter flame. And lo! the ghost departed from me."

The next heading is "Von der grossen Sehnsucht" (Ol the Great Yearning). This stands over an ascending passage in B minor in violoncellos and bassoons, answered by wood-wind instruments in chromatic thirds. The reference is to the following passage:

of melancholy. . . . "O my soul, I understand the smile thy Thine over-great riches themselves now stretch out longing hands! . . . And, verily, O my soul! who could see thy smile and not melt into tears? Angels themselves melt into tears, because of the over -kindness of thv smile. Thy kindness and over-kindness wanteth not to complain and cry! And yet, O my soul, thy smile longeth for tears, and thy trembling mouth longeth to sob. . . . Thou liketh better to smile than to pour out thy sorrow. . . . But if thou wilt not cry, nor give forth in tears thy purple melancholy, thou wilt have to sing, O my soul! Behold, I myself smile who foretell such things unto me. . . . O my soul, now I have given thee all, and even my last, and all my hands have been emptied by giving unto thee! My bidding thee sing, lo, that was the last thing I had!"

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[85 l] The next section begins with a pathetic cantilena in C minor (second violins, oboes, horn), and the heading is: "Von den Freuden und Leidenschaften" (Of Joys and Passions).

"Once having passions thou calledst them evil. Now, however, thou hast nothing but thy virtues: they grew out of thy passions. Thou laidest thy highest goal upon

these passions: then they became thy virtues and delights. . . . My brother, if thou hast good luck, thou hast one virtue and no more; thus thou walkest more easily over the bridge. It is a distinction to have many virtues, but a hard lot; and many having gone to the desert killed themselves, because they were tired of being the battle and battlefields of virtues."

"Grablied" (Grave Song). The oboe has a tender cantilena over the Yearning motive in violoncellos and bassoons.

" 'Yonder is the island of graves, the silent. Yonder also are graves of my youth. Thither will I carry an evergreen wreath of life.' Resolving this in my heart I went over the sea. Oh, ye, ye visions and apparitions of my youth! Oh, all ye glances of love, ye divine moments! How could ye die so quickly for me! This day I think of you as my dead ones. From your direction, my dearest dead ones, a sweet odour cometh unto me, an odour setting free heart and tears. . . . Still I am the richest, and he who is to be envied most — T, the loneliest! For I have had you, and ye have me still." . . .

"Von der Wissenschaft" (Of Science). The fugued passage begins with violoncellos and double-basses (divided). The subject of this fugato contains all the diatonic and chromatic degrees of the scale, and the real responses to this subject come in successively a fifth higher.

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[853] "Thus sang the wizard. And all who were there assembled, fell unawares like birds into the net of his cunning. . . . Only the conscientious one of the spirit had not been caught. He quickly took the harp from the wizard, crying: 'Air! Let good air come in! Let Zarathustra come in! Thou makest this cave sultry and poisonous, thou bad old wizard! Thou seducest, thou false one, thou refined one unto unknown desires and wilderness. . . . Alas, for all free spirits who are not on their guard against such wizards! Gone is their freedom. Thou teachest and thereby allurest back into prisons! We seem to be very different. And, verily, we spake and thought enough together ... to enable me to know we are different. We seek different things . . . ye and I. For I seek more security. . . . But, when I see the eyes ye make, methinketh almost ye seek more insecurity/ "... Much farther on a passage in the strings, beginning in the violoncellos and violas, arises from B minor. "Der Genesende" (The Convalescent):

"Zarathustra jumped up from his couch like a madman. He cried with a terrible voice, and behaved as if some one else was lying on the couch and would not get up

from it. And so sounded Zarathustra 's voice that his animals ran unto him in terror, and that from all caves and hiding places which were nigh unto Zarathustra's cave all animals hurried away ... he fell down like one dead, and remained like one dead. At last, after seven days, Zarathustra rose on his couch, took a rose apple in his hand, smelt it, and found its odour sweet. Then his animals thought the time

had come for speaking unto him. . . . 'Speak not further, thou convalescent one!

. . . but go out where the world waiteth for thee like a garden. Go out unto the roses and bees and flocks of doves! But especially unto the singing birds, that thou mayest learn singing from them. For singing is good for the convalescent; the healthy one may speak. And when the healthy one wanteth songs also, he wanteth other songs than the convalescent one. . . . For thy new songs, new lyres are requisite. MILTON HILL HOUSE

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Announcing the Sixth Annual Berkshire Symphonic Festival

The Time August 3, 5, and 6 — Series A. August 10, 12, and 13 — Series B.

The Place I*1 tne new music shed at "Tanglewood" on Motor Route 183 between Stockbridge and Lenox, Massachusetts.

How to Get There From New York by train to Stockbridge, Lenox or Pittsfield; Boston, by train to Pittsfield; Albany and points West by train to Pittsfield; Montreal by train, via Albany to Pittsfield. By motor, excellent roads lead to Stockbridge and Lenox where you will join Route 183 leading directly to "Tangle- wood."

Accommodations First class hotels in Stockbridge, Lenox, Great Barrington, Pittsfield and surrounding towns.

The Cost Subscription tickets (reserved seat) for each series of three concerts $3.00 and $4.50 rear section — $6.00 and $7.50 front section. Boxes seating six $75.00 for each series of three concerts.

Programs for 1939 F)r. Koussevitzky will make the programs from the following list: the Second and Third Sym- phonies of Beethoven, the First and Third of Brahms, Symphonies of Haydn and Mozart, the Fourth of Tchaikovsky, the Second and Fifth of Sibelius, Rimsky-Korsakov's "Scheherezade," Debussy's "Afternoon of a Faun," Ravel's "La Valse," Wagnerian excerpts, Walter Piston's "Concerto for Orchestra" and others to be announced.

History The Berkshire Symphonic Festival was established in 1934 by summer and permanent resi- dents of the Berkshires, not for monetary profit, but to bring joy and beauty, to promote the cause of music, to establish a great festival center in America. Here in 1938 before a capacity audience, the Berk- shire Symphonic Festival dedicated its music shed with a superb concert by the Boston Symphony Orchestra under the direction of Dr. Koussevitzky. The music shed, seating approximately 6,000, is unique in America. Its utter utilitarian simplicity only emphasizes the beauty of its design. An opinion from the far Pacific coast:

"The great success . . . has permanently established this project as a summer music center for the United States." — The Portland Oregonian.

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t855 J Sing and foam over, O Zarathustra, heal thy soul with new songs, that thou mayest carry thy great fate that hath not yet been any man's fate!' . . . Zarathustra . . . lay still with his eyes closed, like one asleep, although he did not sleep. For he was communing with his soul." Tanzlied. The dance song begins with laughter in the wood wind.

"One night Zarathustra went through the forest with his disciples, and when seeking for a well, behold! he came unto a green meadow which was surrounded by trees and bushes. There girls danced together. As soon as the girls knew Zara- thustra, they ceased to dance; but Zarathustra approached them with a friendly gesture and spake these words: 'Cease not to dance, ye sweet girls! ... I am the advocate of God in the presence of the devil. But he is the spirit of gravity. How could I, ye light ones, be an enemy unto divine dances? or unto the feet of girls with beautiful ankles? . . . He who is not afraid of my darkness findeth banks full of roses under my cypresses. . . . And I think he will also find the tiny God whom girls like the best. Beside the well he lieth, still with his eyes shut. Verily, in broad day- light he fell asleep, the sluggard! Did he perhaps try to catch too many butterflies? Be not angry with me, ye beautiful dancers, if I chastise a little the tiny God! True, he will probably cry and weep; but even when weeping he causeth laughter! And with tears in his eyes shall he ask you for a dance; and I myself shall sing a song " unto his dance.' "Nachtlied" ("Night Song"). "Nachtwanderlied" ("The Song of the Night Wanderer," though Nietzsche in later editions changed the title to "The Drunken Song"). The song comes after a fortissimo stroke of the bell, and the bell, sounding twelve times, dies away softly.

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NORWAY—EUROPE CRUISE Sailing June 24 on the French Line "Paris" An annual summer cruise that combines visits to Norwegian Fjords and cities, Sweden and Denmark with interesting calls in Portugal, Brittany, Devonshire, Ireland, Wales and Scotland. Shore excursions will go to such famous spots as Mont St. Michel, Blarney Castle, Dublin, Carnarvon Edinburgh and the Trossachs. $590 up — exclusive of shore excursions

NORTH CAPE — BALTIC CRUISE Sailing July 1 on the Cunard White Star "Franconia" The nineteenth annual Raymond-Whiteomb summer cruise to Iceland, the North Cape and the Lands of the Midnight Sun. Among other places on the program this year are the Norwegian Fjords, Oslo, Visby, Stockholm, Copenhagen, Estonia, Finland, Russia and Danzig. $550 up — exclusive of shore excursions RAYMOND-WHITCOMB The Oldest American Travel Company 122 Newbury St. - BOSTON - 145 Tremont St. Hubbard 2410 s d3H3 [858] FIFTY-EIGHTH SEASON, NINETEEN HUNDRED THIRTY-EIGHT AND THIRTY-NINE

Next week the orchestra will give concerts in Northampton, New Haven, New York and Brooklyn. The next regular pair of concerts will take place on March Seventeenth and March Eighteenth.

Nineteenth Programme

FRIDAY AFTERNOON, March 17, at 2:30 o'clock

SATURDAY EVENING, March 18, at 8:15 o'clock

ERNEST BLOCH, Conducting

Bloch "Macbeth," Two Symphonic Interludes

Interlude, Act I Interlude, Act II

(First performances in Boston)

Bloch Three Jewish Poems Dance Rite Funeral Procession

INTERMISSION

Bloch "America," An Epic Rhapsody

I. Poco lento (....-1620) The Soil — The Indians (England) — The Mayflower — The Landing of the Pilgrims II. Allegretto (1861-1865) Hours of Joy — Hours of Sorrow III. Allegro con spirito (1926-....) The Present — The Future

The works to be played at these concerts may be seen in the Allen A. Brown Music Collection of the Boston Public Library one week before the concert. A lecture on this programme will be given on Wednesday at 4:45 o'clock, in the Lecture Hall.

[859] :

SYMPHONY HALL

Sunday Afternoon, March 5, at 3:30 HOFMANN "THE MASTER WHO FORGES A BEAUTY LINKING THE MIGHTY PAST WITH THE LIVING PRESENT/ 7

OUN DOWNES— N. Y. Times PROGRAM Harmonious Blacksmith (Aria con Variazioni) .... Handel Pastorale e Capriccio Scarlatti Sonata quasi una Fantasia, Op. 27, No. 2 Beethoven ("Moonlight" Sonata) Fantaisie Imprompu in C-sharp minor, Op. 66 Valse in A-flat major, Op. 64, No. 3 Chopin Nocturne in B major, Op. 62, No. 1 \ Carnaval, Op. 9 Schumann Waldesrauschen Liebestraum in A-flat major Liszt Mephisto Valse TICKETS W O W AT BOX OFFICE

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Mail Orders to Mrs. ANITA DAVIS- CHASE, Hotel Vendome, Boston

"Say it with Flowers"

Flowers Telegraphed promptly to al I parts of U. S, and Canada

Open Evenings Cable Address Jburnfinonij Sundays and Holidays "SYMFLO" FLOWER SHOP 240 HUNTINGTON AVE. Phone KENmore 2076

[86o] \AK Aaron Richmond Presents PADEREWSKI WEDNESDAY EVENING, MAY 10th at the Boston Opera House

Orchestra Circle: $4*40 center and left; Orchestra Circle, balance $3.30. First Balcony: $3.30 and $2.75. Second Balcony: $2.75, $2.20 and $1.65. Ifcil "I A A r * ces ax Exempt. Benefit Burroughs Newsboys Ifldll 0r06rS ^ ^ Foundation. (Remaining Orchestra Lower Seats $5, $6, $7.50.)

Ollly to Aaron Richmond Office, 12 Hunting- ton Ave., Boston MUST be accompanied by self-addressed, stamped envelope.

Choicest seats NOW— 2 Courses Next Fall and Winter

(Present Subscribers have until March 15 to renew seats)

EACH SERIES $5.00, $7-50, $10-00 P ius io% Gov . Tax ($2.00 deposit holds a series ticket until September 15) EVENING SERIES FLAGSTAD KREISLER PHILADELPHIA ORCHESTRA VLADIMIR HOROWITZ Sensational Russian Pianist. Only Boston Concert ARGENTINITA AND HER SPANISH DANCERS SUNDAY AFTERNOON SERIES RACHMANINOFF LEHMANN NATHAN MILSTEIN DON COSSACKS JOHN CHARLES THOMAS

and (as optional number) RALLET RUSSE (New Repertoire) Boston Opera House, Tuesday Evening, Nov* 14

To Series Subscribers, $1.00, $1.50, $2.00 plus tax

[86i] SYMPHONY HALL

MONDAY EVENING, MARCH 13, at 8:30

NEW YORK PHILHARMONIC-SYMPHONY ORCHESTRA

JOHN BARBIROLLI, Conductor

(Mr. Barbirolli's first appearance in Boston)

Assisting Artist: ARTUR SCHNABEL, Pianist

Programme

1. BERLIOZ Overture, "The Roman Carnival"

2. BEETHOVEN Concerto for Piano and Orchestra,

No. 5 in E-flat major ("Emperor")

3. MENDELSSOHN Scherzo in G minor

(from the Octet for Strings, Op. 20)

4. BRAHMS Symphony No. 2, in D major, Op. 73

Concert Sponsored by the Boston Symphony Orchestra

Tickets Now at the Box Office $4.00, $3.00, $2.50, $2.00, $1.50 (no tax)

[862] MUSICAL INSTRUCTION

IrfOI^GY OF MUSIC CAMBRIDGE, MASS.

Admission still open to two lecture courses under NADI A BOULANGER GENERAL COURSE every Tuesday at 4:15 P. M., until June 6th. No entrance requirements — No outside preparation. STUDENT COURSE every Tuesday at 2 P. M., until June 6th. Knowledge of harmony required. Further information may be secured from the School MINNA FRANZISKA HOLL, Director TROwbridge 0956

MARY SHAW SWAIN PIANOFORTE TEACHER Former member of Faculty of the Felix Fox School of Pianoforte Playing ACCOMPANIST AND COACH 74 THE FENWAY COMmonwealth 0054

ISABEL FRENCH SOPRANO TEACHER OF SINGING Member of the Faculty of the Malkin Conservatory

Studio: 2 Bellingham Place (off Revere Street) Telephone Lafayette 3930

GERTRUDE TINGLEY SINGER AND TEACHER OF SINGING Abbot Academy, Andover Studio, ger Ha °°33 NEWBURY STREET, BOSTON £ ?« t> , ' Theg£ Stuart School,J^™? Boston The Curry School, Boston Telephones: Kenmore 8258, Aspinwall 7190 The Erskine School, Boston

Mrs. Charles Adams White TEACHER OF SINGING 105 REVERE ST., BOSTON Tel. Capitol 6745 RALPH LAWTON PIANIST Head of piano faculty (1932-36) Mozarteum Academy of Music, Salzburg, Austria CONCERTS -INDIVIDUAL AND CLASS LESSONS - LECTURES Studio: 88 Exeter Street Telephone: Kenmore 2347

[863] MUSICAL INSTRUCTION

Mrs. Mabel Mann Jordan Miss ROSE STEWART Pupil of SILVESTRI, Naples, Italy Teacher of TEACHER OF SINGING MANDOLIN, GUITAR and UKULELE Foreign and American Instruments for tale. Chestnut Hill Avenue, Brighton 245 For lesson appointment at 206 Commonwealth Telephone Stadium 2326 Ave., Boston, write Randolph, Mass., or telephone Randolph 046S-M Thursdays.

HARRIS S. SHAW FRANK E. DOYLE PIANO, ORGAN, MUSICIANSHIP 14 STEINERT HALL 175 DARTMOUTH ST., BOSTON SINGING Kenmore 6520 RUTH THAYER BURNHAM Teacher of Voice KATE FRISKIN From Rudiments to PIANIST AND TEACHER Professional Engagements Huntington Chambers, Room 320 Member of Faculty 30 Huntington Avenue, Boston Abbot Academy Boston Appointments by letter Andover, Mass. Wednesday!

Classes in GEORGE AARONS DALCROZE EURYTHMICS Sculptor MODELING and DRAWING ST. GRACE L. ENDERS 487 BOYLSTON Private and Class Instruction BROOKLINE 28 Tavern Road, Boston Longwood 4687 Highlands 4940

MISS ROSALIND KEMPTON VIOLIN Special Terms for July and August AVAILABLE FOR SOLOS, ENSEMBLES PROGRESSIVE TEACHING IN CREATIVE WORK FOR CHILDREN 504 BEACON STREET, BOSTON, MASS. TELEPHONE: KENMORE 6123

[864]